Tempting though it is, the stage critic will not leap into the fray of current presidential scandal to declare that Oscar Wilde’s An Ideal Husband, now being staged by Dallas Theater Center, is prophetic because it concerns a politician haunted by a misdeed he believed was long buried. The genius…
A critic is always put in an awkward position when expressing dislike of any show playing at Kurt Kleinmann’s Pegasus Theatre, because the kind of broad comedy they specialize in succeeds or fails almost exclusively on the personal tastes of each audience member, not any objective appraisal of the material…
When you hear theater snobs hold forth on the civilized, specialized virtues of live performance, they often invoke that art form’s timelessness. Live performance, or at least some form of oratory before an attentive crowd, probably predates the advent of recorded history. Some form of it has appeared in virtually…
According to playwright Lee Marans, Old Wicked Songs, his searingly funny Pulitzer Prize nominee from 1996, will be the second most produced play in regional American theater this season. Theatre Three snagged the script for its Southwestern premiere and has blessed us all with a magnificently paced, poetically performed production–and…
It’s a tad early, not to mention uncouth, to name a Dallas stage award after myself. But since I procrastinate in all other areas of my life, I might as well be early naming, in my honor, a citation for excellence. Flouting Mark Twain’s aphorism that good breeding is merely…
Sitting in the cavernous, “temporary” Arts District Theater to watch Dallas Theater Center’s energetic but passionless A Christmas Carol, I couldn’t help looking around and noticing how much better dressed everyone else was than me. Of course, my friends would be quick to point out that even if I could…
Regular readers can now tell this whiny Scrooge of a stage critic that he finally got what he’s been bitching about for weeks–a new and decidedly nontraditional holiday play titled Greetings!. I must say that, as much as I enjoyed looking at it, I’m not sure what the hell to…
I hope that Quincy Long’s bracing, cheeky “children’s play” A Por Quinley Christmas is revived often over the next few generations, the way Charles Dickens’ A Christmas Carol has been for us. That will allow future, cyberspace theater critics to one day rail against it as toothless and overfamiliar the…
Legendary American standup Lenny Bruce became a legend not because he was flat-out funny. Listening to his recorded material today–from his famous “Lone Ranger” routine to his various tours through the ethnic hothouses of the urban landscape–reveals a rather glaring lack of imagination, especially when you compare what has survived…
When people refer to playwright Alan Ayckbourn as “the British Neil Simon,” the comparison is usually intended to be a compliment. Both men are god-awful rich (with Simon probably in the lead, but only because of the countless American movie versions of his plays); both, at their best, have stitched…
There are two plays that alternate in New Theatre Company’s crisp, occasionally volatile production of Donald Margulies’ Sight Unseen. One is the portrait of an aborted relationship, the other a savage, expressionistic landscape of the terrain between art and identity, commercial success and exploitation. You have to wonder if Margulies…
“How they gonna keep him down on the farm once he’s seen Paree?” was roughly the question in some friend’s minds when I told them I was going to cram as much theatergoing as I could afford into my eight-day Manhattan vacation. After I arrived–during various conversations in which I…
Watching Dallas Theater Center’s gutsy (and I mean that literally, but more later) production of Michael Ondaatje’s The Collected Works of Billy the Kid, I couldn’t help but wonder why American playwrights haven’t plundered the 19th-century American frontier for the kind of blood-red gems Ondaatje has uncovered. As directed with…
If, while in the grocery checkout or ATM line, you find yourself standing next to a young man or woman with a shockingly inappropriate platinum dye job, there are two possible explanations–either the person shares Dennis Rodman’s hairdresser, or he or she is a cast member of Kitchen Dog Theater’s…
Some wag once said that if you want to keep your appetite for sausage and politics, you should never watch either one being made. To that warning I add the process of making art. Since I consider writing, music, and the visual arts to be infinitely superior experiences to a…
The highest recommendation I can give Theatre Three’s Texas premiere of British playwright David Hare’s theological drama Racing Demon is that I emerged punch-drunk from the production. The jabs weren’t aimed at the audience, but if you have more than a passing interest in the internal politics of the contemporary…
There were a couple of reasons why I entered Teatro Dallas’ 1997 Day of the Dead show, Lamia, with high expectations. First, knowing that Teatro’s autumn celebrations of the Latin American holiday El Dia De Los Muertos–a more historically rooted version of the North American Halloween–manage to scare up more…
In a recent interview with The Dallas Morning News, Todd Waite, one of the two actors who play eight different characters in Alan Ayckbourn’s bleak two-part comedy Intimate Exchanges, was quoted as saying: “It’s impossible to act the same in a different wig.” Waite has appeal and confidence, as does…
Not knowing a lick of French beyond a few pretentious little Continental phrases such as joie de vivre, I have no idea if Moliere’s original script of his sex farce Amphitryon is rote and lethargic, or if celebrated poet Richard Wilbur’s translation is the problem. Having read (though never seen…
Having seen two performances of My Head Was a Sledgehammer, the debut by Our Endeavors Productions of Richard Foreman’s scattered stream-of-consciousness script, I’m sure of only two things: This show is fast-paced and pleasurable, and it means absolutely nothing. You might disagree on either or both counts. That’s the beauty…
It’s tempting (and just a little bit cheap) to read all kinds of incestuous undertones in Paula Vogel’s poignant, occasionally acidic, three-actor comedy, The Baltimore Waltz, not the least because Vogel’s newest Off-Broadway hit, How I Learned to Drive, has offended some in the New York theater community. That emotionally…
In critical circles, Harold Pinter has the reputation of being “an actor’s playwright,” mostly because he acted for a number of years in 1950s London under the pseudonym David Baron. His scripts go so far as to instruct the actors where and how long they should pause between dialogue. A…
